Review: LES MISERABLES at Broadway In Tucson

LES MISERABLES is likely one of the finest touring productions to grace Broadway in Tucson in recent memory. This epic Cameron Mackintosh-produced theatrical event isn't here long, and you'll want to make sure you see it before it leaves. This North American tour of LES MISERABLES is very strong. This is a personal musical to me since I did it back in LA many years ago. I also saw a production that was quite good in Orange County around the same time. This North American tour is the best I've seen and I mean that truly. LES MISERABLES is just as vital as ever and speaks to our hearts in our own modern time.

The cast and orchestra (as well as the jaw-dropping set pieces) are massive. This is a true epic of a musical. Clocking in around 3 hours, LES MISERABLES pulls you into the world of Victor Hugo from 1815 Digne all the way through Paris in 1832. The story follows Jean Valjean who is relentlessly pursued by Inspector Javert for breaking his parole. Valjean's crime? Stealing a loaf of bread. The moral conflict and character development are electric. There was magic on the stage this evening. I was very pleased with how the show was presented and the impact that it made on our audience.

Nick Cartell is one of the strongest Valjeans I've seen. With an impressive range and dynamite acting chops, Cartell carries this show with confidence. Nick Rehberger is fantastic as Javert and sells the internal conflict this character goes through. "Stars" should be a highlight of the show and it indeed was. Lindsay Heather Pearce tugged at heartstrings during "I Dreamed a Dream" and provided the perfect closure at the end of the musical. "To love another person is to see the face of God" is my favorite line in the show.

The Thénardiers (played by Victoria Huston-Elem and Matt Crowle) were my favorite part of the show. I love dark humor and comic relief, and "Master of the House" left me grinning from ear to ear. People often discount how important the Thénardiers are because they appear to be comic relief. However, they are actually an integral part of the narrative, following Valjean throughout his life and eventually providing crucial information at the end of the story. Crowle was suitably creepy during "Dog Eats Dog." The rear projection effect as the characters travelled through the sewer in Act II was brilliant. Likewise, Javert's final moments were incredible to witness, with both sets and lighting working in harmony to create an unforgettable scene.

Matt Kinley's set design is out of this world. From the barricade to the towering Paris buildings that extended from the sides to meet center stage, my jaw hit the floor several times. I was not expecting to see something on this scale, and it was a pleasant surprise indeed. The lighting effects by Paule Constable, particularly during battle scenes, were extraordinary. Of course, Laurence Connor and James Powell are to be credited for their phenomenal direction of this show. Musical staging by Geoffrey Garratt and music direction by Glenn Alexander II transported our audience and gave us a buffet of sound. The live orchestra and chorus were a feast for the ears. Diction from most performers was good. At times it was hard to understand, but there are a lot of words in this show.